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电影(yǐng )《掘地三尺》讲(jiǎng )述(🔽)了(🛢)江(🥢)(jiāng )东民(mín )（张磊饰演）(🌥)因(💏)为(🤹)在结(jié )婚当天发现(xiàn )自己(✈)的(🌁)妻子与伴(bàn )郎发生(shēng )苟且(🌽)(qiě(🔴) )之事而心灵扭曲，报复(fù )每(🧡)一(🐣)个(🛁)刚结(jié )婚或要结婚新娘(⚓)(niá(🦁)ng )的(🥊)故事(shì )。 1850年(nián )，一个(gè )遥远的(📯)法(🎥)属小岛(dǎo )发生了一桩(zhuāng )命(🏗)案(🈴)，醉(🔡)了酒的(de )渔夫（埃米(mǐ )尔·(🛵)库(🎍)(kù )斯图里卡 Emir Kusturica饰）犯(fàn )下杀(🤢)人(🔒)罪，被判以极刑。然而这里(lǐ(🙏) )山(⛎)高(✳)(gāo )皇帝远(yuǎn )，没有铡刀之(📌)类(🎰)(lè(🚐)i )的行刑(xíng )工具(jù )，于是岛上(🆘)的(🕞)官员们求(qiú )助于法国本(bě(🏼)n )部(👐)，让他们千里(lǐ )迢迢运(yùn )来(👮)断(🐂)(duà(🕕)n )头台。 1959年登上头条新闻(wé(🙄)n )的(🤮)真(😐)实故事(shì )。年轻的土著居(jū(👹) )民(❓)迈克(kè )斯因(yīn )提供可(kě )疑(♏)的(🏚)证(⛰)据而被宣(xuān )告谋杀住在(zà(⬜)i )澳(⏳)洲南部一名九(jiǔ )岁的小(xiǎ(🐡)o )女(📖)孩(hái )的罪名(míng )成立。国际新(🚬)闻(🛌)(wé(💶)n )传媒大亨默(mò )多克成为(🏦)了(🍉)主(📷)要动力，支持并要求(qiú )对这(🐰)宗(🌾)案件进行(háng )重审…… 《猛虎(🥛)发(🐙)火》叙述干探朱(zhū )龙和孟蓝(🆙)如(🌼)(rú(🍇) )何侦破专门杀害(hài )少女(🚉)的(🖨)(de )谋(🚽)杀(shā )案，并把冷血杀手绳之(⏳)(zhī(➕) )于法。有一(yī )冷血杀手专门(🔭)用(🈯)(yò(👃)ng )炸弹杀(shā )害午(wǔ )夜丽人(ré(😌)n )，已(🕜)有多名丽人(rén )遇害，干探(tà(⚪)n )朱(✅)龙和孟蓝奉命(mìng )侦查此(cǐ(🍽) )案(🎨)。冷(📣)血杀(shā )手最新的行凶对(🎪)(duì(💓) )象(🐚)是朱龙深(shēn )爱的前女友萧(💀)琪(🆕)。她为(wéi )了贪慕虚荣(róng )离开(🌰)了(🦌)他。他目(mù )睹萧琪(qí )被凶(xiō(🛳)ng )徒(🎶)杀(🤭)死，非常伤心，誓(shì )要捉拿(🖋)凶(👉)徒(🔰)(tú )归案。几番追查(chá )捉到一(🐄)(yī(🙀) )个疑(yí )凶军火灿，进一步侦(♐)查(🏻)(chá )才知凶手另(lìng )有其人。女(🦒)督(🖍)察(📲)(chá )刘倩盈(yíng )参与(yǔ )侦查此(💞)(cǐ(🏋) )案。她用自己做(zuò )饵引凶手(🐰)出(🕥)(chū(🐐) )现，她发觉凶手(shǒu )是朱龙(🗼)(ló(🐾)ng )的(🍮)好(hǎo )朋友麦(mài )斯。他正在准(🔙)备(📊)(bèi )杀害孟(mèng )蓝女(nǚ )友碧琪(🍜)。因(🚯)为碧琪曾经(jīng )是他女朋友(🗺)(yǒ(😿)u )，不(😝)满其所为不(bú )辞而别(bié(📗) )。麦(⛸)(mà(🤥)i )斯身份暴露后，在逃走(zǒu )前(🏽)把(🛏)炸药放(fàng )置朱龙车内，在(zà(🐫)i )追(🚠)捕麦(mài )时，朱用车撞向麦车(📁)，两(👌)车(🏹)(chē )相撞爆炸，炸死麦斯；朱(🍶)及(🍠)(jí )时跳车(chē )脱险(xiǎn )。 The last time Britain was a major force in world cinema was in the 1960s; a documentary of a few years back on the subject was entitled 'Hollywood UK'. This was the era of the Kitchen Sink, social realism, angry young men; above all, the theatrical. And yet, ironically, the best British films of the decade were made by two Americans, Richard Lester and Joseph Losey, who largely stayed clear of the period's more typical subject matter, which, like all attempts at greater realism, now seems curiously archaic. 根据(jù(📔) )真(🏷)人真事改编的(de )冒险电影，描(📛)述(🙁)在(📌)1979年，东德(dé )的两个(gè )家庭(tí(📣)ng )为(🆔)了追(zhuī )求自由逃到西德(dé(🙎) )，于(✏)是(shì )冒险(xiǎn )安排乘坐热气(🚥)球(😃)逃(🔱)亡。经过种种波(bō )折后，两(🙏)个(🥍)家(🐠)长(zhǎng )终于带(dài )着四(sì )名子(🌰)女(🎯)坐上了热气球。全片在西德(🐙)(dé(♈) )实地拍摄，导演(yǎn )迪尔伯(bó(🥠) )特(🐆)．(🧦)曼也能自然流畅地呈现(xià(🅾)n )主(👊)角的家居(jū )及邻里生活实(🍢)感(🔤)(gǎn )，因此(cǐ )逃亡(wáng )过程的(de )紧(🎩)张(👓)刺(🎈)激程度虽(suī )然不算很高(gā(🥝)o )，但(🥄)也维持了不(bú )错的观(guān )赏(🏯)性(🕒)(xìng )。 The film retains most of Shakespeare's original play and does not change the order of scenes, as Olivier's Hamlet or Richard III do. The only major omission is the Fool's scene, although other minor lines are cut here and there. (The stage version contained more of the play than did the film.) Derek Jacobi (Cassio) and Michael Gambon both made their film debuts in Othello while Edward Hardwicke, would go on to work with the National for seven years.